Interpretatio Romana System Installed

It is with great joy that I report Interpretatio Romana or Roman Interpretation has returned. In other words, our race has eyes again. Apollo stirs from his slumber.

I write so that others can see. My writing on the subject of Racial Esoteric Moralization is for naught if I can not teach men this way of seeing. Two writers have adopted the “Brahmin System” which is more correctly called Roman Interpretation.

This is a writer who goes by the name Michael Frank and a writer know to me now only as “The Grand Style.” “The Grand Style’s” analysis on the film American History X is here.

I will check his “math” shortly once I have had a chance to re-watch this interesting work of subversive Jewish propaganda. I know, that so far, he’s certainly gotten many things right.

Michael Frank’s first, excellent work of analysis, for which I can strongly vouch, will be featured on this blog early next week. For these writers the focus will be on the exceptionally powerful medium of Cinema.

Here a new academic field, straddling the fields of psychology, mythography, media analysis, art analysis and Religion studies is established. Here a priesthood of interpreters appears. In a manner, they are Anti-Priests. To wit, priests not drunk or blinded on the madness, emotionalized illusions and deceiving promises of a Chthonic Semitic God, but priests sober in mind and thought, clinically deciphering the insults and curses of a Semitic racial competitor, clinically deciphering Jewish Esoteric Demoralization.

Here the goal is to demystify, to blunt the power of Bacchus or Yahweh and to teach a symbol language to the Apollonian artist, to fill his quiver with arrows. To give him AIM (Aryan Inner Moralization). Here we throw down Python.

In my own writings I have and will continue to prove the existence of a coherent, decipherable symbol language plied by Jewish Esotericists against racial and sexual competitors. There is much, very much too be published still on this critical topic, much to be revealed so that other men can see. Yet all of it, in its important parts, has been written and protected. For indeed, the symbol language is necessarily finite. We must never lose this knowledge again.

I will be featuring and/or linking to the writing of these new writers as they produce more work. Likewise the subject of their analysis will begin appearing on my broadcasts, perhaps them as guests as well.

The Age of Saturn is coming to a close, the seasons will be controlled, they shall not control. “For an age makes not, it is man made.”

Renaissance incoming.

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9 thoughts on “Interpretatio Romana System Installed”

Could you go more into the 666 symbol, it’s Jewish interpretation, and how we should view it (or use it in our movement). Is the “ok” hand symbol an Aryan symbol or a Satanic symbol? If you interpret this symbol how I think you will, will Christians declare you the Antichrist?

Mark, just so you know, I’ve updated my site, to “The Grand Style” name. I now have 4-5 reviews, which you can find here. Please link this site here, instead of the older one, when you can find the time.

As a result, my analysis of “Saving Private Ryan” is perhaps my most thorough yet, in accordance with the insight gained from your studies. I’ve also reviewed “The Land Before Time”, “The Revenge of The Nerds”, and have drafts on “Superbad”, as well as the “Back to the Future” trilogy ( a story encompassing 5 generations of Jewish genealogy )

Yeah I am excited to review this work…at some point. The truth is I feel obliged to re-watch the films so that I can give you a comprehensive and accurate review. This is labor/time intensive stuff and the cinema stuff I am making an effort to farm out. Michael Frank is helping me with this and now you are as well. At some point though I will have to apply some serious scrutiny to your work. I think it will be beneficial to us both. In the interim, my priority is finishing the books – I dropped the Frankish motif article in response to your remarks though because it is a fascinating phenomenon.

Sure, scrutinize freely. Very open, humble in a new field here, and welcome criticism. Sadly, as I’m sure you’ve noticed, a single bad read can blow apart a whole analysis. I could be wrong, especially on my drafts with some of my wilder ideas (Doc Brown as Marty McFly’s Jewish Great-Great-Grandpa is a bit hopeful, but it seems *possible so far, very interesting to investigate this stuff).

I’d say Revenge of The Nerds is my most solid essay, since it was a such an overt layup of a anti-Gentile movie, it was an easier write up. Even normies kinda knew that movie was about Jewish guys trying to score. Saving Private Ryan is probably my most thorough.

Also, I think you’re right in that this is essentially an oral tradition, some of these recurring themes are both strange and undeniable. The Frankish thing gets obvious, pretty quickly, it’s bizarre (look forward to giving your article a read), but when you look into the explanations of several Frankish lineages it does indeed seem that many were crypto-Jews. I wonder if artists ever reference the conversos of Spain in a similar way, – worth noting.

Another thing I’ve realized is that it can help to focus on a specific director or collaborative group. The most variable aspect here is, frankly, the anti-Gentile vitriol. With Polanski he’s flat-out stealing wombs and giving birth to demons, but with others like the Coen brothers, you seem to get a little more mockery between Jews, with Spielberg a little more shabbos-friendliness. Always helps to research their religious schooling too, and life experiences (In the first few minutes of a Spielberg “E.T.” interview, he plainly says the movie is about his Jewish upbringing.)

That’s interesting. I would focus though on how these artists are alike in their thinking rather than distinct. Here you avoid getting draw into biography. The remarkable thing is that they are making art as a collective, drawing on a shared symbol language and a shared understanding of this language. These are my two cents. We should avoid being their biographers as much as possible and focus on learning their language and understanding the message they are delivering to us on collective, racial level.

It has helped me get my “sea legs” though, so to speak. I think the reason for the slightly varying interpretations is that the message being constructed is an artfully conscious one, but the antagonism, so to speak, remains unconscious (roughly as per [email protected]’s theory of self deception-citing Trivers I believe).

So this might mean you might have one director who cares only about seducing shiksah-types, focusing on that aspect of moralization, and another who has sincerely violent intent (like Polanski), and another who takes a globo-homo geopolitical shotcaller angle (like Spielberg). Basically you get different aspects of the mythology highlighted.

The only biography worth doing would be the true story of Kubrick, if indeed there was any funny business going on there. Needless to say, your work has made me seriously revisit previous tin-foil hat territory.